Chapter 11: Record Setup. Avid Technology Pro Tools HD 6.4, Pro Tools LE 6.4, PRO TOOLS MIX 51
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Chapter 11: Record Setup
Before you start recording, make sure your
Pro Tools system is connected and configured properly. For details on connecting Pro Tools to your studio, refer to the Getting Started Guide that came with your system.
While some of the information in this chapter is relevant to recording MIDI, there are more specific setup details for MIDI recording in
Input Connections and Audio
Levels
Digidesign TDM audio interfaces operate as linelevel devices and offer no pre-amplification.
Low-level sources like microphones and electric guitars need to be pre-amplified. You can do this with a quality mixing board or dedicated preamp (such as the Digidesign PRE).
The Digidesign PRE can be used as a standalone preamp with all Pro Tools systems, or it can be remote-controlled from within a
Pro Tools session when used with a
Pro Tools TDM system.
The Digi 002 and Digi 002 Rack have four inputs with preamps, to which you can connect low-level signals, and four additional line-level inputs with switchable gain.
Mbox and the Digi 001 I/O have two inputs with preamps, to which you can connect lowlevel signals; the Digi 001 I/O also has six additional line-level inputs with switchable gain.
For all systems, volume and pan controls for tracks in Pro Tools only affect monitoring levels—not the recording input gain. The LED meters on audio interfaces indicate both fullcode (highest level before clipping) and true clipping of Pro Tools output signals. The onscreen meters in Pro Tools indicate only true clipping.
Chapter 11: Record Setup 137
Digital Clipping
Clipping occurs when you feed a signal to a recorder or mixer that is louder or “hotter” than the device allows. On many analog tape decks, a little clipping adds a perceived warmth to the sound due to tape compression. In digital recording, however, clipping causes digital distortion, which is undesirable and should always be avoided.
Set Input Levels High But Don’t Clip
When you feed a signal into any audio recording system, including Pro Tools, you need to adjust the input level to optimize the dynamic range. Adjust the input signal to register as high as possible on your input meter without triggering the clipping indicator. If the input level is too low, you will not take full advantage of the dynamic range of your Pro Tools system. If the input level is too high, however, it will be clipped, and the performance ruined.
Calibration Mode
(TDM Systems Only)
You can use the Calibration mode in Pro Tools to adjust the input and output levels for your audio interface so they match those of your mixing console and other audio devices in your studio.
The 192 I/O has two sets of adjustable trim pots for its inputs, and two sets of adjustable trim pots for its outputs. Additionally, the reference level for the input can be set to +4 dBu or
–10 dBV. The 888|24 I/O has adjustable trim pots for its inputs and outputs.
There are no input or output trims on the following TDM audio interfaces: 192 Digital I/O,
96 I/O, 96i I/O, 882|20 I/O, 1622 I/O, and ADAT
Bridge I/O. Some Digidesign I/Os that do not have output trims (such as the 96i I/O) offer software-controllable input levels, adjustable from Setups > Hardware Setup (refer to the guide for your particular I/O).
For more information on calibrating your audio interface, or using Calibration mode, see the 192 I/O Calibration Mode Instructions or the 888|24 I/O
Guide
.
Record Enabling Tracks
To record to a track you must first record enable it with the Record Enable button. To record simultaneously to multiple tracks, you can record enable multiple audio or MIDI tracks.
When one or more tracks are record enabled, you can click the Record and Play buttons in the
Transport window to start recording.
MIDI tracks can be record enabled during playback or record. To record enable audio tracks, the Transport must be stopped, or
TrackPunch (Pro Tools TDM 6.4 only) or
QuickPunch must be enabled. For informa-
tion on TrackPunch, see “TrackPunch Audio Recording” on page 194. For informa-
tion on QuickPunch, see “QuickPunch
Audio Recording” on page 191).
138 Pro Tools Reference Guide
To record enable an audio or MIDI track:
■
From either the Edit or Mix window, click the track’s Record Enable button to toggle record enable on or off for the track. The Record Enable button is lit when on; also, in the Mix window, the track’s fader is highlighted.
Edit window
Mix window
Record-enabled audio track in Mix and Edit windows
(Pro Tools TDM 6.4)
To record enable multiple audio tracks:
1 From either the Edit or Mix window, click each audio track’s Record Enable button to toggle record enable on or off for each track.
If Latch Record mode is not enabled, Shiftclick each track’s Record Enable button to toggle record enable on or off for each track.
See “Latch Record Preference” on page 140.
To record enable multiple MIDI tracks:
■
From either the Edit or Mix window, Shiftclick each MIDI track’s Record Enable button to toggle record enable on or off for each track.
To record enable MIDI tracks using the Up/Down
Arrows:
■
While pressing Control (Windows) or Command (Macintosh), press the Up/Down Arrows to record enable the previous or next MIDI track. The previous (or next) record track is no longer record enabled.
To keep the previous track record enabled while enabling new tracks, press Shift+Control+Up/Down (Windows) or Shift+Command+Up/Down
(Macintosh).
To record enable all audio or MIDI tracks:
■
Alt-click (Windows) or Option-click (Macintosh) the Record Enable button to toggle record enable on or off for all audio or MIDI tracks.
To record enable all selected audio or MIDI tracks:
■
Alt-Shift-click (Windows) or Option-Shiftclick (Macintosh) the Record Enable button on any selected audio or MIDI track to toggle record enable on or off for all selected audio or
MIDI tracks.
While record enabling does not affect audio tracks that are grouped, you
can
select all tracks in a group by clicking directly to the left of the group’s name in the Groups List.
Then you can Shift-Alt-click (Windows) or
Shift-Option-click (Macintosh) to record enable all selected tracks.
Chapter 11: Record Setup 139
Latch Record Preference
When the Latch Record Enable Buttons preference is selected, you can record enable additional audio tracks by clicking their Record Enable buttons while previously record-enabled tracks remain enabled. Latch Record Enable buttons are for audio tracks only.
When Latch Record Enable Buttons is deselected, record enabling a subsequent audio track will make the previously record-enabled audio track no longer record enabled.
To enable Latch Record mode:
1 Choose Setups > Preferences.
2 Click the Operations tab.
3 Select Latch Record Enable Buttons.
Control-Alt-click (Windows) or Command-Option-click (Macintosh) again to take all tracks out of Record Safe mode.
To put all currently selected tracks into Record
Safe mode:
■
Control-Alt-Shift-click (Windows) or Command-Option-Shift-click (Macintosh) the
Record Enable button on any of the selected tracks to toggle them in and out of Record Safe mode.
Record Safe Mode
Pro Tools provides a Record Safe mode that prevents tracks from being record enabled. Use
Record Safe mode to protect important track recordings.
To put an audio or MIDI track in Record Safe mode:
■
Control-click (Windows) or Command-click
(Macintosh) the track’s Record Enable button.
The Record Enable button is greyed out.
Control-click (Windows) or Command-click
(Macintosh) again to take the track out of
Record Safe mode.
To put all tracks in Record Safe mode:
■
Control-Alt-click (Windows) or Command-
Option-click (Macintosh) the Record Enable button on any track.
Record Monitoring Modes
(Pro Tools LE Systems Only)
Pro Tools offers two modes of input monitoring during record, Auto Input monitoring or Input
Only monitoring, which determine how input signals are monitored while recording audio.
To choose a record monitoring mode:
■
Choose Operations > Auto Input Monitor.
– or –
Choose Operations > Input Only Monitor.
To toggle between Auto Input and Input
Only modes, press Alt+K (Windows) or
Option+K (Macintosh).
Auto Input Monitoring
In this mode, when session playback is stopped,
Pro Tools monitors audio input. When playback is started for a punch-in, Pro Tools monitors existing track material up until the punch point.
While punched in, the input signal is monitored. On punch-out, monitoring switches back to the existing track material. This is similar to the auto-switching logic found on digital and analog multitrack tape machines.
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When Auto Input monitoring is enabled, both the TrackInput button and the lower LED next to the Transport window appear gray.
When using Auto Input, the switch back to monitoring track material on punch-out is not instantaneous. To get instantaneous monitor switching on punch-out, use Track-
Punch (Pro Tools TDM 6.4 only) or Quick-
Punch. For information on TrackPunch, see
“TrackPunch Audio Recording” on page 194. For information on QuickPunch,
see “QuickPunch Audio Recording” on page 191).
Input Only Monitoring
In this mode, when a track is record enabled,
Pro Tools monitors audio input only, regardless of any punch-in/out selection.
When Input Only monitoring is enabled, the
Green LED next to the Transport window appear green.
Green LED lights when Input Only
Monitoring is selected
Transport window
Monitor Levels for Record and
Playback
Pro Tools remembers two different fader levels for monitoring each audio track: one for when the track is record enabled, and one for when it is not record enabled.
Pro Tools remembers these two states for fader levels automatically. If you adjust a fader when a track is record enabled and then turn off record enable for the track, the fader returns to its playback level.
When audio tracks are record enabled, their volume faders in the Mix window turn red, indicating that the record monitor level is active.
Link Record and Play Faders
When the Operation Preference for “Link
Record and Play Faders” is selected, Pro Tools does not keep track of record and play levels for audio tracks. In this case, record enabling an audio track has no effect on the fader level for the track. This lets you maintain a consistent mix regardless of whether you're recording or just listening.
TrackInput Monitoring
(Pro Tools TDM Systems Only)
TrackInput monitoring lets you toggle individual audio tracks between Auto Input and Input
Only monitoring modes at any time, including during playback or recording. TrackInput provides the monitoring flexibility needed in dubbing and mixing, and is similar to “rehearse” mode on analog multitrack recorders and similar machines.
With the Digidesign MachineControl 2.0 option (available separately), TrackInput can also be remotely controlled from a SoundMaster and compatible devices through P2 protocol commands (with support for pec-direct paddles as supported on the synchronizer or console).
The TrackInput feature also makes it possible to toggle a track between Auto Input and Input
Only monitoring mode regardless of whether or not the track is record enabled.
Chapter 11: Record Setup 141
To toggle the monitoring mode of audio tracks do one of the following:
■
To toggle individual tracks, click the TrackInput button for each track you want to toggle.
The TrackInput button lights green.
■
To toggle all tracks in the session, Alt-click
(Windows) or Option-click (Macintosh) a Track-
Input button. All the TrackInput buttons lights green.
■
To toggle all selected tracks in the session, Alt-
Shift-click (Windows) or Option-Shift-click
(Macintosh) a selected track’s TrackInput button. All the TrackInput buttons for the selected tracks lights green.
TrackInput Off (Auto Input)
TrackInput On (Input Only)
TrackInput buttons in the Edit Window
To change the monitoring mode of all recordenabled tracks, do one of the following:
■
To change all record-enabled tracks to Auto
Input monitoring mode, Choose Operations >
Change Record Enabled Tracks to Auto Input.
■
To change all record-enabled tracks to Input
Only monitoring mode, Choose Operations >
Change Record Enabled Tracks to Input Only.
■
To toggle the monitoring mode of all recordenabled tracks between Input Only monitoring mode and Auto Input monitoring mode, use
Alt-K (Windows) or Option-K (Macintosh).
Monitoring Mode Preferences
For flexibility, TrackInput can be customized to remain selected regardless of track record status, or to automatically switch to Auto Input monitoring after a recording pass. This lets you optimize monitoring for a typical dubbing workflow
(in which you might want tracks to remain in
Input Only mode until explicitly switched to
Auto Input monitoring) or a typical music tracking workflow (in which leaving a track in Input
Only monitoring mode after recording can result in accidental double-monitoring).
To customize TrackInput for recording:
1 Choose Setup > Preferences, and open the Operation page.
2 Configure the setting for Disable “Input”
When Disarming Track (In “Stop”) setting as appropriate.
• When enabled, taking an audio track out of record enable (any mode) takes it out of Input Only mode, regardless of the global monitor mode, and switches it to monitor audio from disk only.
• When not enabled, audio tracks will remain in Input Only monitoring mode until explicitly switched to Auto Input monitoring.
Monitoring Latency
(Pro Tools LE)
Because Pro Tools LE uses the host processor in your computer for all audio processing, playback and recording, there is a small amount of audio delay, or latency, in the system. This latency amount is related to the H/W Buffer Size— the larger the buffer size the larger the latency.
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You can reduce the amount of monitoring latency for Pro Tools LE systems by reducing the
H/W Buffer Size. However, even at the smallest buffer size, there is still some latency. In addition, reducing the buffer size limits the number of simultaneous audio tracks you can record without encountering performance errors.
While there may be times when you want a larger buffer size, for the sake of higher track counts with more plug-ins, you’ll generally want a smaller buffer size when recording audio that is monitored through your Pro Tools LE system.
If you are monitoring the recording source with an external mixer, before it is routed to
Pro Tools, you will not hear any latency.
To set the Hardware Buffer Size:
1 Choose Setups > Playback Engine.
2 Choose the number of samples from the H/W
Buffer Size pop-up menu.
3 Click OK.
Computers with slower CPUs may not be able to use the 128 buffer size without encountering performance errors.
Zero Latency Monitoring
(Mbox Only)
Mbox gives you the ability to monitor your analog input signals while recording, without hearing any latency. This zero-latency analog monitoring is controlled by the Mbox front panel Mix knob, which you can use to blend and adjust the ratio between the Mbox analog input and Pro Tools playback. For more information, refer to the Mbox Basics Guide or the
Getting Started with Mbox Guide.
Low Latency Monitoring
(Digi 002, Digi 002 Rack, and Digi 001 Only)
Digi 002, Digi 002 Rack, and Digi 001 systems can use the Low Latency Monitoring option to record with an extremely small amount of monitoring latency, to as many tracks as each system supports.
To use Low Latency Monitoring:
1 Record enable audio tracks by clicking their
Record Enable buttons. Only tracks with inputs set to an audio interface (not a bus) use Low Latency Monitoring.
2 From the Output Selector, assign each track to either Output 1 or Output 2. Only tracks assigned to these outputs use Low Latency Monitoring.
3 Select Operations > Low Latency Monitoring.
When Low Latency Monitoring is enabled, any plug-ins and sends assigned to record-enabled tracks (routed to Outputs 1–2) are automatically bypassed, and must remain bypassed. Also, these tracks will not register on meters for Master Faders.
Low Latency Monitoring and
Bounce To Disk
With Low Latency Monitoring enabled, only audio tracks are included with the Bounce To Disk command—Auxiliary Input tracks are ignored.
To include any Auxiliary Inputs’ audio when bouncing to disk, Auxiliary Inputs must be re-
corded to new audio tracks (see “Recording to
Chapter 11: Record Setup 143
Low Latency Monitoring
During Recording
(HD-series Systems with Pro Tools 6.4 Only)
If you choose to record with Delay Compensation active, Pro Tools automatically suspends delay compensation to provide a low-latency monitor path through the main outputs of the record-enabled tracks. When an audio track is armed for recording (in stop), TrackInput-enabled, or punched in, the track’s delay compensation is automatically suspended, and the
Track Compensation indicator displays zero.
Delay compensation can be intentionally applied to audio tracks regardless of record status or input mode.
To apply delay compensation to automatically bypassed tracks:
■
Start-Control-click (Windows) or Command-
Control-click (Macintosh) the Track Compensation indicator. Track delay will be applied to the track and the Track Compensation Indicator will display in blue.
For more information about Delay Com-
pensation, see “Delay Compensation” on page 428.
Default Track Names
When creating new audio and MIDI tracks,
Pro Tools names them as either “Audio” or
“MIDI” and numbers them consecutively. For example, when you create two new audio tracks, their default names are “Audio 1” and
“Audio 2.” You can rename tracks and also log comments for each track.
Track names define new file and region names
when recording to a track. See “Naming Tracks” on page 91
.
Default Names for Audio Files and
Regions
When recording to an audio track, the resulting file and region names are based on the name of the track. For example, after recording for the first time on a track called “Electric Gtr,” an audio file is created with the name “Electric
Gtr_01.” In addition, a region appears in the Audio Regions List with the name “Electric
Gtr_01.” This region is a whole-file region.
Subsequent record takes on the same track are named identically, but the digits (indicating the take number) are incremented (for example,
“Electric Gtr_02.”) A second set of digits (such as used in “Electric Gtr_01-01”) indicates a region
auto-created from an edit.
TrackPunch (Pro Tools TDM 6.4 only) and
QuickPunch modes use a different method
for numbering regions. For details, see “Region and Take Numbering with Quick-
Punch” on page 194.
When recording MIDI tracks, a similar naming scheme is used, though with only one set of digits. For example, after recording to a track called
“Synth 1,” a region is created called “Synth 1-
01.” Subsequent regions for that track, generating either from additional record takes or region edits, are numbered sequentially (for example,
“Synth 1-02”).
Names for Stereo Audio Tracks
When recording to stereo audio tracks, audio file and region names for the left and right channels are appended with a “.L” and “.R” suffix.
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Names for Multichannel Tracks
(TDM Systems Only)
When recording to multichannel surround tracks, audio file and region names for each channel are appended with the following suffixes.
6.1
7.0
7.1
Multichannel
Format
LCR
Quad
LCRS
5.0
5.1
6.0
File and Region Suffixes
L, C, R
L, R, Ls, Rs
L, C, R, S
L, C, R, Ls, Rs
L, C, R, Ls, Rs, LFE
L, C, R, Ls, Cs, Rs, LFE
L, C, R, Ls, Cs, Rs
L, Lc, C, R, Rc, Ls, Rs
L, Lc, C, R, Rc, Ls, Rs, LFE
To allocate the audio drives in your system:
1 Choose Setups > Disk Allocation.
2 In the Disk Allocation dialog, assign a hard drive for each track by clicking in the Root Media Folder column and selecting a volume from the Disk Allocation pop-up menu.
Disk Allocation dialog
Only drives designated as R (Play and Record) can be selected in the Disk Allocation dialog. For more information, see the DigiBase Guide.
Disk Allocation
By default, Pro Tools records audio files to the
Audio Files folder inside the session folder. You can use the Disk Allocation dialog to specify other locations for your audio files for each audio track.
Hard drives that are full do not appear in the
Disk Allocation dialog.
To increase system performance, Pro Tools can record and play each track from a different hard drive. You can also automatically distribute any newly created tracks to multiple audio drives with Round Robin Allocation.
Disk Allocation pop-up menu
A folder with the session name is created on each hard drive, containing subfolders for audio and fade files.
• To assign all tracks to the same hard drive, press Alt (Windows) or Option (Macintosh) while selecting a drive name.
• To make a continuous selection, Shift-click a track name (in the Track column) to extend the selection to include already-selected tracks and all tracks in between.
Chapter 11: Record Setup 145
• To make a non-contiguous selection, Control-click (Windows) or Command-click
(Macintosh) a track name in the Track column to extend the selection to include already-selected tracks without including tracks in-between.
3 To save recorded audio files to an existing folder (without creating another session folder), select Customize Allocation Options, then click the Change button and choose the folder. To create subfolders in this folder, select “Create
Subfolders for audio, video, and fade files.”
4 To automatically distribute any newly created tracks among the drives connected to your system, select “Use Round Robin Allocation for
New Tracks.”
If you are using Round Robin Allocation and want audio to be recorded to your system’s startup drive, do the following:
• Open the Workspace browser and set the
Volume Designator for your system volume
to R (Record and Playback). See “Workspace Volume Designation” on page 147.
Round Robin Allocation is not supported with partitioned hard drives.
If you want to exclude individual, valid, mounted volumes from Round Robin Allocation passes, open the Workspace browser and make the volume safe, by designating it as P (Playback only) or T (Transfer).
5 When you are finished, click OK.
Saving Disk Allocation Settings
To save Disk Allocation settings for use with future sessions, save the session as a template. For
details, see “Creating Custom Session Templates” on page 51.
Disk Allocation and Cross-Platform
Sessions
Pro Tools for Windows supports recording and playback of audio from multiple hard drives, but to ensure cross-platform operation, it also requires that Macintosh Pro Tools sessions and their associated audio files be on Macintosh-formatted (HFS or HFS+) drives.
Similarly, Windows sessions and their associated audio files must reside on Windows-formatted (FAT32 or NTFS) drives. If you want to share sessions between Windows and Macintosh platforms, consider these restrictions when allocating tracks to drives.
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Reallocating Tracks
When opening a session where some of the previously assigned hard drives are no longer available (or don’t match the current session platform), Pro Tools automatically reassigns tracks to the volume where the session file is stored. In such cases, use Disk Allocation if you need to reallocate tracks to other drives.
Reallocating tracks does not affect the audio that has been previously recorded. Reallocating tracks only affects where new audio recording will be saved.
Workspace Volume Designation
The Workspace volume designation can alter disk availability, thus affecting Disk Allocation.
From the Workspace browser, you may designate volumes as Record, Playback, or Transfer. If you change a drive’s designation, making it read-only (Play Only or Transfer), you will need to check the Disk Allocation for any tracks formerly allocated to that drive. For more information, see the DigiBase Guide.
Recording to the System Volume
Though Pro Tools will let you record to your system volume, this is generally not recommended. Performance for audio recording and playback on system drives is worse than on nonsystem hard drives.
You should record to system drives only when absolutely necessary—if your computer system has just the one hard drive, or if your other hard drives are completely out of space.
By default, the system volume is not included in
Round Robin Allocation (regardless of volume designation in the Workspace browser). To include the System Volume in Round Robin Allo-
cations, see “To allocate the audio drives in your system:” on page 145.
Allocating Hard Drive Space for Recording
The Operation Preference for Open Ended
Record Allocation determines how much of your available hard drive space is allocated whenever you record into one or more tracks in
Pro Tools.
When this allocation preference is set to Use All
Available Space, the drive’s entire available space is allocated. This setting lets you record lengthy takes, or longer sessions.
However, when allocating all available space,
Pro Tools may take a little longer to begin recording. You can reduce this delay by allocating a specific amount of time for recording.
You can also avoid recording delays by putting Pro Tools in Record Pause mode before
beginning to record. See“Record Pause
Mode” on page 161.
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In general, the Use All Available Space preference makes hard drives work harder. In addition to record and punch lag times, many system see better overall recording performance when the
Open Ended Record Allocation is limited.
To allocate a specific amount of time to recording:
1 Choose Setups > Preferences and click Operation.
2 Under the Open Ended Record Allocation option, select Limit To and enter the number of minutes to be allocated.
Open Ended Record Allocation, Operation Preference
The number of minutes specified is allocated for each record-enabled track.
3 When you are finished, click Done.
Choose Windows > Show Disk Space to check the current available space on your drives.
Destructive Record mode enabled
The record mode can also be switched by Rightclicking (Windows and Mac OS X) or Controlclicking (Macintosh) the Transport Record Button. This cycles through the modes with the
Record button changing to indicate the currently selected mode: blank for Nondestructive,
“D” for Destructive, a loop symbol for Loop
Record, “P” for QuickPunch and “T” for Track-
Punch.
When recording, you can preserve disk space by removing unwanted record takes
(see “Removing Unwanted Regions” on page 313) and compacting audio files (see
“Use this “power delete mode” with caution, since deletion of these files cannot be undone.” on page 313).
Nondestructive Record Mode
In normal Nondestructive Record mode,
Pro Tools records audio nondestructively, which means that if you record over a track’s existing regions, the audio is not erased from your hard drive. Both the new and old audio files remain on your hard drive, available as regions from the
Audio Regions List.
Record Modes
For recording audio, Pro Tools has four record modes:
• Nondestructive Record (Default)
• Destructive Record
• Loop Record
• QuickPunch
• TrackPunch (HD Only)
To enable Destructive Record, Loop Record,
QuickPunch or TrackPunch, select them from the Operations menu. If none of these record modes are selected, Pro Tools is in normal Nondestructive Record mode.
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In Nondestructive Record mode, the record range can be defined by selecting a range in the
Ruler or in a track’s playlist, or by specifying start and end points in the Transport window. If there is no selection, recording begins from the current cursor location and continues until the
Transport’s Stop button is clicked.
To set a record range by selecting within a track’s playlist, the Edit and Timeline selec-
tions must be linked. See “Linking or Unlinking Edit and Timeline Selections” on page 245.
The pre- and post-roll settings allow material to be heard up to and after the start and end points, which is useful when punch recording
(see “Punch Recording Audio” on page 163).
Destructive Record Mode
In Destructive Record mode, recording over existing regions replaces the original audio permanently, which allows you to keep disk use to a minimum. However, if you have sufficient drive space, it is usually best to use Pro Tools in Nondestructive Record mode, to avoid losing any previously recorded material.
When defining the record range and setting pre- and post-roll, Destructive Record mode works the same as Nondestructive mode.
Unlike the other record modes, it is not possible to cancel or Undo record takes when using De-
structive Record mode (see “Canceling a Record
Loop Record Mode
Loop Record mode allows you to record take after take (nondestructively) while the same section of audio repeats. This is a convenient technique for quickly recording multiple takes of a part without losing spontaneity.
The time range that is looped and recorded— which must be at least one second in length—is defined by selecting a range in the Ruler or in a track’s playlist, or by specifying start and end points in the Transport window. The pre-roll setting, if enabled, is used during the first record pass, but on each successive loop the pre- and post-roll times are ignored.
To set a record range by selecting within a track’s playlist, the Edit and Timeline selec-
tions must be linked. See “Linking or Unlinking Edit and Timeline Selections” on page 245.
When using Loop Record mode, each successive take appears as a region in the Audio Regions
List and each is numbered sequentially. The various takes, which are identical in length and start time, are easily auditioned and placed in the track at the correct location with the Takes
List pop-up menu (see “Auditioning Record
QuickPunch
QuickPunch gives you the ability to manually and instantaneously punch in (initiate recording) and punch out (stop recording) on recordenabled audio tracks during playback by clicking the Transport’s Record button. Recording with QuickPunch is nondestructive.
When using QuickPunch, Pro Tools begins recording a new file when playback begins, automatically generating regions in that file at each punch in/out point. These regions appear in the track’s playlist; and the complete audio file appears in the Regions List along with the Quick-
Punch created regions. Up to 200 of these “running punches” can be performed in a single pass.
Chapter 11: Record Setup 149
Though you can punch record in the other record modes by manually specifying the record range, only QuickPunch provides instantaneous monitor switching on punch-out.
TrackPunch
TrackPunch lets individual tracks be punched in, punched out, and taken out of record enable without interrupting online recording and playback. When using Digidesign MachineControl software in Remote 9-Pin Deck Emulation mode, TrackPunch (and TrackInput monitoring) can be controlled through P2 commands.
Control surfaces (such as ProControl, Control|24, and Command|8) also support Track-
Punch
TrackPunch is a non-destructive recording mode. When a track is TrackPunch-enabled,
Pro Tools begins recording a new file when playback begins. During playback, you may record arm or disarm, or punch in or out a combination of any or all TrackPunch enabled tracks.
TrackPunch automatically creates regions in that file at each punch-in and punch-out point.
These regions appear in the track’s playlist, and the complete audio file appears in the Regions
List along with the TrackPunch created regions.
Up to 200 of these “running punches” can be performed in a single pass. isting MIDI regions results in the new data being merged with the old. When the MIDI Merge button is deselected (Replace mode), the new material replaces the old.
MIDI Merge button
MIDI Merge enabled
MIDI recording works the same whether using
Nondestructive or Destructive Record mode. In addition, neither QuickPunch nor TrackPunch need to be enabled to punch on-the-fly with
MIDI—this capability is available in Nondestructive and Destructive Record modes.
Unlike audio loop recording, the state of the
MIDI Merge toggle determines whether existing material is replaced or merged.
Unless MIDI Merge is enabled, MIDI recording is destructive (though you can undo a MIDI record pass), either overwriting or adding to region material. One exception to this rule is when Loop
Record mode is enabled; in this mode, existing track regions are replaced with new regions when new material is recorded. The old regions remain intact and available from the MIDI Regions List, and from the Takes List pop-up menu. In Loop Record mode, MIDI Merge has no effect, so its button is dimmed.
The Record Modes and MIDI
In addition to the five record modes, there is also a MIDI Merge button in the Transport window that determines how MIDI is recorded.
When enabled (Merge mode), recording over ex-
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Recording with a Click
If you intend to work with MIDI tracks in your session, or if the audio you’re working with is bar and beat-oriented, you can record your tracks while listening to a click. This ensures that recorded material, both MIDI and audio, will align with the session’s bar and beat boundaries.
When your track material lines up with the beats, you can take advantage of some useful editing functions in Pro Tools, such as quantizing
MIDI and audio regions, quantizing individual
MIDI notes, and copying and pasting measures and song sections in Grid mode.
Material that is recorded without listening to a click can still be aligned to bar and beat boundaries in Pro Tools with Beat Detective
(see Chapter 22, “Beat Detective”), or use
the Identify Beat command to determine the tempo.
Pro Tools provides a built-in click generator, the
DigiRack Click plug-in. Click includes presets with different click sounds, supports accented and unaccented click sounds, and lets you adjust their volumes. Click is integrated directly into Pro Tools, avoiding MIDI time delays. Refer to the DigiRack Plug-Ins Guide for details.
Pro Tools also provides options and controls for driving a click using MIDI. The following steps are for configuring and enabling a click using
MIDI.
To configure click options:
1 Choose MIDI > Click Options.
– or –
Double-click the Click or Countoff button in the
Transport window.
2 In the Click/Countoff Options dialog, do one of the following:
• If using the DigiRack Click plug-in, select
None in the Output pop-up menu. (For information on using the Click plug-in, see the DigiRack Plug-Ins Guide.)
– or –
• If driving a click using MIDI, select the port number (device) and channel that will play the click from the Output pop-up menu.
Click/Countoff Options dialog
3 For the accented and unaccented notes, specify the note, velocity, and duration with the numeric keypad. If connected, you can also play new note values on your MIDI controller keyboard.
Chapter 11: Record Setup 151
When listening to the click in your Pro Tools sessions, the accented note sounds on the first beat of each measure and the unaccented note sounds on the remaining beats.
4 Select whether the click is heard “During play and record,” or “Only during record,” or “Only during countoff.”
5 If using a countoff, specify the number of Bars to be counted off. To hear the countoff only when recording, select that option.
6 Click OK.
To enable a click from the MIDI menu:
■
Choose MIDI > Click.
To enable a click in the Transport:
1 To view the MIDI controls in the Transport window, select Display > Transport Window
Shows > MIDI Controls.
2 In the Transport window, click the Click button so it becomes highlighted.
Click button
Click enabled
3 To use a countoff when recording or playing, click the Countoff button in the Transport window so it too becomes highlighted.
Countoff button
Transport Window with MIDI Controls
Countoff enabled
Hearing the countoff before recording is helpful in getting the feel for the tempo before you begin playing. The Countoff button in the Transport window displays the number of bars to be counted off.
The countoff is ignored when Pro Tools is online and syncing to SMPTE time code.
Wait for Note and Countoff
Wait for Note and Countoff are mutually exclusive and cannot both be enabled at the same time. If, for instance, Countoff is enabled and you click the Wait for Note button, Countoff is disabled.
152 Pro Tools Reference Guide
Setting the Default Meter and
Tempo
2 Enter the Meter you will use for the session and set the Location to 1|1|000 (so the inserted meter event replaces the default one).
Setting the Default Meter
When opening a new session in Pro Tools, the meter defaults to 4/4. If you intend to record with a click and are working with a different meter, make sure to set the default meter accordingly.
If a session’s meter does not match the music you’re recording, the accented clicks will not line up with what you’re playing, and, as a result, the recorded material may not align with the bars and beats in the Edit window.
On TDM systems, Beat Detective requires identical meters to work with DigiGrooves.
For example, if Beat Detective extracts the feel from a bar of 7/4, it can only be applied to another bar of 7/4
Meter events, which can occur anywhere within a Pro Tools session, are stored in the Meter Track and appear in the Meter Ruler. For more information on inserting and editing meter events,
see “Meter Events” on page 321.
To set the default meter for a session:
1 Choose Windows > Show Tempo/Meter.
– or –
Double-click the Meter button in the Transport window.
Tempo/Meter Change window
3 Choose a note value for the number of clicks to sound in each measure.
4 Click Apply to insert the new meter event.
Setting the Default Tempo
When opening a new session in Pro Tools, the tempo defaults to 120 BPM. If you intend to record with a click and are working with a different tempo, make sure to set the default tempo accordingly. If you know the tempo you will use for the session, you can insert a tempo event at the beginning of the Tempo Track.
Tempo events, which can occur anywhere within a Pro Tools session, are stored in the
Tempo Track and appear in the Tempo Ruler.
For more information on inserting and editing
tempo events, see “Tempo Events” on page 315.
Meter button
Chapter 11: Record Setup 153
To insert a default tempo event:
1 Choose Windows > Show Tempo/Meter.
– or –
Double-click the Meter button in the Transport window.
2 At the top of the Tempo/Meter Change window, choose Tempo Change from the pop-up menu.
3 Enter the BPM value you will use for the session and set the Location to 1|1|000 (so the inserted tempo event replaces the default tempo).
4 To base the BPM value on something other than the default quarter-note, select another note value.
5 Click Apply to insert the new tempo event.
See “Default Tempo” on page 318 for more in-
formation on the default tempo.
Using Manual Tempo Mode
In Manual Tempo mode, Pro Tools can ignore the tempo events in the Tempo Track and instead play back a Manual Tempo. This tempo can be set with the Tempo slider, or if you’re not sure of the actual tempo, by tapping in the tempo.
While you can adjust the Manual Tempo during playback, doing so will momentarily interrupt playback.
To set the Manual Tempo with the Tempo slider:
1 To view the MIDI controls in the Transport window, select Display > Transport Window
Shows > MIDI Controls.
In the Transport window, click the Conductor button so it becomes unhighlighted. Pro Tools switches to Manual Tempo mode. In this mode, any tempo events in the Tempo Track are ignored.
154 Pro Tools Reference Guide
Conductor button
Manual Tempo mode enabled
2 To base the BPM value on something other than the default quarter-note, change the note value in the Beat Value pop-up menu (just to the left of the Tap button).
3 To enter a new tempo, drag the horizontal
Tempo slider in the Transport window.
BPM value
Tempo slider
Tempo slider
For finer resolution with the Tempo slider, press
Control (Windows) or Command (Macintosh) while dragging.
To exit Manual Tempo mode and enable the Tempo
Track:
■
Click the Conductor button in the Transport window so it becomes highlighted.
To set the Manual Tempo with the Tap button:
1 To view the MIDI controls in the Transport window, select Display > Transport Window
Shows > MIDI Controls.
2 In the Transport window, click the Conductor button so it becomes unhighlighted. Pro Tools switches to Manual Tempo mode. In this mode, any tempo events in the Tempo Track are ignored.
3 Click the Tap button repeatedly at the new tempo.
Tap button
Tap button
– or –
Click in the Tempo field so it becomes highlighted and tap in the tempo by playing a note repeatedly at the new tempo on your MIDI keyboard controller.
To compute the new tempo, Pro Tools requires at least four taps (each of which is displayed in the Tap area when received). The computed
BPM value appears in the Transport’s Tempo field.
Tempo Taps as reflected in Transport
To lock in the new tempo:
■
Take Pro Tools out of Manual Tempo mode by clicking the Conductor button, then insert a tempo event (with the new tempo) at the beginning of the Tempo Track.
Chapter 11: Record Setup 155
156 Pro Tools Reference Guide
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Table of contents
- 3 Contents
- 13 Introduction
- 15 Chapter 1: Welcome to Pro Tools
- 15 The Pro Tools Guides
- 16 Conventions Used in These Guides
- 16 Digidesign Registration
- 16 Compatibility Information
- 16 About www.digidesign.com
- 17 Chapter 2: Pro Tools System Configurations
- 17 Pro Tools TDM Systems
- 17 HD-Series Systems
- 18 MIX-Series Systems
- 18 Supported Audio Interfaces
- 19 TDM System Playback, Recording and Voice Limits
- 20 Audio Interfaces for TDM Systems
- 21 Pro Tools LE Systems
- 22 Pro Tools LE System Capabilities
- 23 Chapter 3: Pro Tools Concepts
- 23 Hard Disk Audio Recording
- 23 The Digidesign Audio Engine
- 24 Playback Engine Dialog
- 24 Pro Tools Sessions
- 24 Session File
- 24 Audio File
- 25 Tracks
- 25 Regions (or Loops)
- 25 Playlist
- 26 Channel
- 27 Signal Routing
- 28 System Resources
- 29 Active and Inactive Items
- 31 MIDI Concepts
- 31 MIDI Terms
- 32 Common Misconceptions about MIDI
- 33 Chapter 4: Pro Tools Windows
- 33 The Mix Window
- 33 The Edit Window
- 36 Track Controls
- 36 Edit Tools
- 36 Event Edit Area
- 36 Location Indicators, Grid/Nudge Values, Current Cursor Display
- 37 The Transport Window
- 37 Basic Transport Controls and Counters
- 39 MIDI Controls
- 41 Chapter 5: Keyboard Shortcuts
- 41 Global Key Commands
- 42 Keyboard Focus
- 43 Numeric Keypad Modes
- 43 Shuttle Lock Modes
- 45 Shuttle Mode
- 47 Sessions & Tracks
- 49 Chapter 6: Sessions
- 49 Starting Up or Shutting Down Your System
- 49 Configuring Pro Tools System Settings (in the Playback System Engine)
- 50 Hardware Buffer Size
- 50 CPU Usage Limit
- 50 Number of Voices
- 51 Default Sample Rate
- 52 Delay Compensation Engine
- 52 DAE Playback Buffer Size
- 53 System Memory Allocation
- 53 Configuring Pro Tools Hardware Settings
- 53 Configuring Pro Tools|HD Hardware
- 57 Creating a New Session
- 58 Selecting a Fader Gain
- 59 Opening a Session
- 59 Opening a Session that Contains Unavailable Files
- 59 Opening a Session that Contains Unavailable Resources
- 60 Selecting Fader Gain when Opening a Previously Recorded Session
- 60 Saving a Session
- 60 Saving the Session File
- 60 Saving the Session File with a New Name
- 61 Saving a Copy of the Session
- 63 Creating Custom Session Templates
- 63 Creating Windows Templates
- 64 Creating Macintosh Templates
- 65 Closing a Session
- 65 Quitting Pro Tools
- 65 Sharing Sessions Between Pro Tools TDM Systems and Pro Tools LE Systems
- 66 Opening a TDM Session in Pro Tools LE
- 66 Preferences
- 79 Chapter 7: I/O Setup
- 81 Main Paths and Sub-Paths
- 81 Default I/O Settings
- 81 Stems and Stem Mixes
- 82 The I/O Setup Dialog
- 83 I/O Setup Dialog Controls
- 83 Routing Hardware I/O to Pro Tools I/O
- 85 Creating and Editing Paths
- 85 Creating New Paths
- 87 Resetting Paths
- 87 Deleting Paths
- 88 Channel Mapping
- 89 Initializing I/O Setup
- 90 Active and Inactive Paths
- 91 Hardware Setup and Session Transfer
- 92 I/O Settings Files
- 92 Defaults, Settings Files, and Last Used Settings for New Sessions
- 94 I/O Setup Options
- 94 Meter Path Selector
- 94 Audition Path
- 96 Default Path Order
- 96 Default Output Path
- 96 H/W Insert Delay Compensation
- 97 Chapter 8: Tracks
- 97 Track Types
- 100 Track Controls
- 100 Input/Output Selectors
- 100 Volume/Peak/Channel Delay Indicator
- 100 Pan Indicator
- 100 Pan Slider
- 100 Volume Fader
- 101 Track Level Meter
- 103 Creating Tracks
- 105 Hiding Tracks
- 107 Assigning Inputs and Outputs to Tracks
- 107 Assigning Audio Track Inputs
- 108 Assigning Audio Track Outputs
- 108 Track Priority and Voice Assignment
- 109 Track Priority
- 109 Voice Assignment
- 111 Setting MIDI Input and Output
- 111 Assigning MIDI Track Input
- 112 Assigning MIDI Track Output
- 112 Soloing and Muting Tracks
- 114 Making Tracks Inactive
- 114 Adjusting Track Width
- 115 Color Coding Tracks
- 115 Grouping Tracks
- 116 Using the Groups List
- 117 Creating Groups
- 117 Editing Groups
- 119 Enabling Groups
- 121 Chapter 9: Importing and Exporting Session Data
- 121 Importing Audio
- 123 Conversion Quality
- 123 Importing Audio Files and Regions
- 125 Importing Audio Files with Drag & Drop from a DigiBase Browser
- 126 Importing Audio from an Audio CD
- 126 Importing Tracks and Track Attributes
- 128 Import Session Data Dialog
- 133 Exporting Audio
- 133 Exporting a Region as a New Audio File
- 134 Exporting Region Definitions
- 135 Exporting Pro Tools Tracks as OMFI or AAF Files
- 135 Exporting Sessions as Text
- 135 Export Session as Text Options
- 136 The Exported Session Text
- 137 Importing MIDI Files
- 138 Exporting MIDI Files
- 141 Chapter 10: File Management and Compatibility
- 141 Audio File Management
- 141 Locating Audio Files
- 143 WAV File Compatibility
- 143 Creating Macintosh and PC Compatible Sessions
- 144 Creating and Saving Cross- Platform Sessions
- 145 Moving Sessions Between Platforms with MacOpener (Using HFS/HFS+ Drives)
- 147 Recording
- 149 Chapter 11: Record Setup
- 149 Input Connections and Audio Levels
- 150 Record Enabling Tracks
- 152 Latch Record Preference
- 152 Record Safe Mode
- 152 Record Monitoring Modes
- 152 Auto Input Monitoring
- 153 Input Only Monitoring
- 153 Monitor Levels for Record and Playback
- 153 TrackInput Monitoring
- 154 Monitoring Latency
- 155 Zero Latency Monitoring
- 155 Low Latency Monitoring
- 156 Low Latency Monitoring During Recording
- 156 Default Track Names
- 157 Disk Allocation
- 159 Recording to the System Volume
- 159 Allocating Hard Drive Space for Recording
- 160 Record Modes
- 162 The Record Modes and MIDI
- 163 Recording with a Click
- 165 Setting the Default Meter and Tempo
- 165 Setting the Default Meter
- 165 Setting the Default Tempo
- 169 Chapter 12: Basic Audio Recording
- 169 Recording an Audio Track
- 173 Recording Multiple Audio Tracks
- 173 Record Shortcuts
- 173 Record Pause Mode
- 173 Recording Additional Takes
- 175 Punch Recording Audio
- 177 Loop Recording Audio
- 178 Auditioning Record Takes
- 178 Auditioning from the Regions List
- 178 Auditioning from the Takes List Pop-up Menu
- 179 Editing Preferences for Takes
- 180 Setting Punch/Loop Points
- 182 Setting Pre- and Post-Roll
- 184 Recording from a Digital Source
- 185 Recording from Digital Sources
- 186 Half-Speed Recording and Playback
- 187 Chapter 13: MIDI Recording
- 187 Recording from MIDI Devices
- 188 Enabling Input Devices
- 189 MIDI Thru
- 189 The Default Thru Instrument
- 190 MIDI Input Filter
- 190 Input Quantize
- 191 Wait for Note
- 191 MIDI Merge/Replace
- 192 Configuring MIDI Tracks for Recording
- 194 Recording to MIDI Tracks
- 195 Undo and MIDI Recording
- 195 Punch Recording MIDI
- 197 Regions and Punch Recording
- 197 Loop Recording MIDI
- 197 Loop Recording with Merge Mode
- 199 Loop Recording Multiple Takes
- 200 Recording System Exclusive Data
- 203 Chapter 14: Advanced Recording
- 203 QuickPunch Audio Recording
- 204 QuickPunch Guidelines for TDM Systems
- 205 QuickPunch Guidelines for LE Systems
- 205 Recording with QuickPunch
- 206 TrackPunch Audio Recording
- 207 Voice Requirements for TrackPunch Recording
- 207 Recording with TrackPunch Overview
- 208 TrackPunch Preferences
- 209 Configuring Synchronization and Track Arming
- 210 Enabling TrackPunch Mode
- 211 Transport Display of TrackPunch Status
- 211 TrackPunch Enabling Tracks
- 212 TrackPunch Recording
- 213 Example TrackPunch Workflows
- 213 Film Dubbing and Mixing with TrackPunch
- 214 Loading Dailies with RecordLock
- 215 Foley Recording with TrackPunch
- 215 Tracking and Overdubbing Music with TrackPunch
- 217 Editing
- 219 Chapter 15: Editing Basics
- 219 Pro Tools Editing
- 219 Nondestructive Editing
- 219 Editing During Playback
- 220 Track Material
- 221 Track View
- 222 Track Height
- 224 Displaying Region Names and Times
- 224 Audio Regions and Waveforms
- 225 Guidelines for Editing Waveforms
- 226 Nondestructive Audio Editing
- 226 Audio Regions and Automation Data
- 226 MIDI Regions and MIDI Data
- 227 Notes View for MIDI Tracks
- 228 Regions View for MIDI Tracks
- 229 Nondestructive MIDI Editing
- 229 MIDI Regions and Continuous Controller Events
- 229 Playlists
- 230 Working with Playlists
- 231 Multiple Undo
- 232 Levels of Undo and Memory
- 232 The Audio and MIDI Regions Lists
- 233 Sorting and Searching the Regions Lists
- 234 Selecting in the Region Lists
- 235 Stereo and Multichannel Tracks in the Audio Regions List
- 236 Edit Modes
- 236 Shuffle
- 236 Slip
- 236 Spot
- 237 Grid
- 238 Zooming
- 238 Horizontal and Vertical Zoom Buttons
- 240 Zoomer Tool
- 241 Zoom Preset Buttons
- 242 Zoom Toggle
- 243 Zooming with a Scroll Wheel
- 243 The Universe Window
- 244 Timebase Rulers
- 245 Main Time Scale
- 247 Tick-Based Timing
- 247 Ticks versus Samples
- 249 Chapter 16: Playing and Selecting Track Material
- 249 Playing Tracks
- 252 Auto-Scrolling Tracks in the Edit and Mix Windows
- 252 Navigation using Track Position Numbers
- 253 Scrolling Options
- 254 The Scrubber
- 256 Numeric Keypad Set to Shuttle
- 257 Linking or Unlinking Edit and Timeline Selections
- 258 Selecting Track Material
- 263 Using the Selection Indicators (Start, End, and Length)
- 264 Selecting Across Multiple Tracks
- 265 Other Useful Selection Techniques
- 266 Tabbing to Transients
- 267 Playing Selections
- 268 Looping Playback
- 269 Timeline Selections
- 270 Playing Edit and Timeline Selections with the Playhead
- 271 Moving the Playhead
- 273 Chapter 17: Working with Regions and Selections
- 273 Creating New Regions
- 273 Capture Region Command
- 274 Separate Region Command
- 275 Separation Grabber
- 275 Trim To Selection Command
- 276 Healing a Separation
- 276 Placing Regions in Tracks
- 277 Defining Region Sync Points
- 277 Placing Regions at the Edit Insertion Point
- 278 Aligning to Region Start Points
- 279 The Trimmer Tool
- 279 Standard Trimmer
- 280 The Time Trimmer
- 282 The Scrub Trimmer
- 282 Trim To Insertion Command
- 283 Trimming with Nudge
- 283 Sliding Regions
- 283 Shuffling Regions
- 284 Slipping Regions
- 285 Spotting Regions
- 286 Sliding Regions in Grid Mode
- 288 Nudging
- 289 Nudging Regions
- 290 Nudging a Region’s Contents
- 290 Shift Command
- 291 Quantizing Regions
- 291 Locking Regions
- 292 Muting/Unmuting Regions
- 292 Edit Commands
- 292 Track View and Edit Content
- 295 Editing Across Multiple Tracks
- 295 Duplicate Command
- 296 Repeat Command
- 297 Merge Paste Command
- 297 Editing Stereo and Multichannel Tracks
- 298 Processing Audio with AudioSuite Plug-Ins
- 299 Waveform Repair with the Pencil Tool
- 300 The Smart Tool
- 303 Chapter 18: Advanced Editing (TDM Systems Only)
- 303 Replacing Audio Regions
- 305 Repeat Paste To Fill Selection
- 305 Compress/Expand Edit To Play
- 306 Fitting an Audio Region to an Edit Selection
- 307 Chapter 19: Fades and Crossfades
- 307 Using Crossfades
- 307 About Crossfades and Curves
- 309 The Fades Dialog
- 314 Creating a Crossfade
- 315 Creating Fades at the Beginnings and Ends of Regions
- 315 Creating Fade-Ins and Fade-Outs
- 317 Using AutoFades
- 317 Creating Fades and Crossfades in Batches
- 319 Chapter 20: Managing Regions
- 319 Stripping Silence from Regions
- 319 The Strip Silence Window
- 320 Using Strip Silence
- 321 Inserting Silence
- 322 Consolidate Selection Command
- 322 Compacting an Audio File
- 323 Naming and Displaying Regions
- 323 Renaming Regions
- 324 Auto-Naming Options
- 324 Hiding and Removing Unwanted Regions
- 327 Chapter 21: Conductor Tracks and Memory Locations
- 327 Tempo Events
- 327 Inserting Tempo Events
- 329 Tempo and MIDI and Audio
- 330 Default Tempo
- 330 Identify Beat Command
- 330 Identifying Beats
- 331 Inserting Bar|Beat Markers One at a Time
- 332 Dragging Bar|Beat Markers
- 332 Editing Bar|Beat Markers
- 333 Meter Events
- 333 Inserting Meter Events
- 335 Partial Measures
- 335 Renumbering Bars
- 336 Memory Locations and Markers
- 336 Properties of Memory Locations
- 338 Creating Memory Locations
- 340 Recalling Memory Locations
- 340 Editing Memory Locations
- 342 Memory Locations Window
- 343 Memory Locations Commands and Options
- 345 Chapter 22: Beat Detective
- 346 Beat Detective Requirements
- 347 The Beat Detective Window
- 347 Beat Detective Modes
- 348 Defining a Beat Detective Selection
- 349 Calculating Tempo with Beat Detective
- 350 Generating Beat Triggers
- 351 Editing Beat Triggers
- 353 Generating Bar|Beat Markers with Beat Detective
- 354 Working with Sub-Beats
- 354 DigiGroove Templates
- 356 Separating Regions with Beat Detective
- 358 Conforming Regions with Beat Detective
- 360 Edit Smoothing
- 361 Detection (Normal) and Collection Mode
- 362 Using Collection Mode
- 365 MIDI Editing
- 367 Chapter 23: MIDI Editing
- 367 The Pencil Tool
- 368 Custom Note Duration
- 369 Setting the Grid Value
- 369 Inserting MIDI Notes
- 371 Manually Editing MIDI Notes
- 375 Typing in Note Attributes
- 375 Deleting MIDI Notes
- 376 Continuous Controller Events
- 377 Inserting/Editing Controller Events
- 378 Patch Select (Program and Bank Changes)
- 378 Default Program Change
- 380 Inserting and Editing Program Changes
- 381 Auditioning Programs
- 381 System Exclusive Events
- 382 Note and Controller Chasing
- 383 Offsetting MIDI Tracks
- 384 Stuck Notes
- 385 Chapter 24: MIDI Operations
- 385 MIDI Operations Window
- 386 Select Notes
- 387 Split Notes
- 388 Change Velocity
- 390 Change Duration
- 391 Transpose
- 392 Quantize
- 395 Quantize Examples
- 396 Experimenting with Quantize
- 397 Input Quantize
- 397 Groove Quantize
- 400 Applying Groove Templates
- 402 Restore Performance
- 403 Flatten Performance
- 405 Chapter 25: MIDI Event List
- 405 The MIDI Event List
- 405 Opening the MIDI Event List
- 408 Inserting Events in the MIDI Event List
- 410 Editing in the MIDI Event List
- 411 Selecting in the MIDI Event List
- 411 Deleting in the MIDI Event List
- 411 Copy and Paste in the MIDI Event List
- 412 MIDI Event List Options
- 413 Mixing
- 415 Chapter 26: Basic Mixing
- 415 Mixing Concepts
- 415 Metering and Calibration
- 416 Audio Signal Flow
- 416 Audio Tracks
- 417 Auxiliary Inputs
- 418 Master Faders
- 420 Inserts
- 420 Views in the Mix and Edit Windows
- 422 Track Input
- 423 Track Output
- 424 Multiple Output Assignments
- 426 Sends
- 426 Assigning Sends to Tracks
- 428 Configuring Sends View in the Mix and Edit Windows
- 429 Editing Sends in the Mix and Edit Windows (Send A-E Views)
- 430 Output Windows for Tracks and Sends
- 432 Panner Linking
- 433 Standard Selector Controls in Output Windows
- 434 Using Output Windows
- 435 Sends and Groups
- 435 Copying Track Settings to Sends
- 435 Submixing for Signal Routing and Effects Processing
- 436 Audio Input from MIDI Devices and Other External Sources
- 436 Creating a Submix
- 440 Delay Compensation
- 440 Delay Compensation Settings
- 440 Delay Compensation View
- 442 Dither
- 442 Dither in Pro Tools
- 444 Using a Control Surface with Pro Tools
- 445 Chapter 27: Plug-In and Hardware Inserts
- 447 Viewing Inserts
- 448 Making Inserts Inactive
- 449 Inserting Plug-Ins on Tracks
- 450 Plug-In Menu Organization
- 450 Plug-in Favorites
- 451 Inserting Plug-Ins During Playback
- 451 Moving and Duplicating Plug- In and Hardware Inserts
- 452 The Plug-In Window
- 453 Opening Plug-In Windows
- 453 Opening Multiple Plug-In Windows
- 454 Plug-In Window Controls
- 455 Bypassing Plug-Ins
- 455 Linking and Unlinking Controls on Multi-Mono Plug-Ins
- 456 Editing Plug-In Controls
- 456 Keyboard Shortcuts for Plug-In Controls
- 456 Plug-In Automation and Safe
- 457 Using a Key Input for Side-Chain Processing
- 458 Using Hardware Inserts
- 458 Assigning Hardware Inserts
- 458 Bypassing Hardware Inserts
- 459 Connecting and Integrating External Devices
- 459 Connecting Effects Units Digitally
- 460 Using External Clock Sources
- 463 Chapter 28: Automation
- 463 Automation Quick Start
- 464 Automation Playlists
- 464 Automation Playlists with Audio and MIDI Regions
- 465 Automation Modes
- 468 Automation Preferences
- 468 Smoothing
- 468 Thinning
- 468 AutoMatch
- 469 Setting the Automation Buffer Size
- 470 Automation Safe
- 470 Viewing Automation
- 471 Writing Automation
- 472 Automating Sends
- 473 Automating Plug-Ins
- 475 Enabling and Suspending Automation
- 476 Deleting Automation
- 477 Thinning Automation
- 477 Using the Thin Automation Command
- 477 Drawing Automation
- 479 Editing Automation
- 479 Graphical Editing of Automation Data
- 479 Editing Automation Types
- 480 Editing Automation Breakpoints
- 481 Editing Automation on Stereo and Multichannel Tracks
- 482 Editing Automation on Grouped Tracks
- 483 Cutting, Copying, and Pasting Automation
- 485 Writing Automation to the Start, End or All of a Selection
- 486 Write to Start, End, and All On Stop
- 487 Trimming Automation
- 487 Creating Snapshot Automation
- 489 Snapshot Automation and Trimming of Automation Data
- 491 Chapter 29: Mixdown
- 493 Recording to Tracks
- 494 Bounce to Disk
- 495 Bounce Options
- 495 Default Settings
- 495 Bounce Source
- 496 File Type
- 500 Format
- 501 Resolution
- 501 Sample Rate
- 502 Sample Rate Conversion Quality Option
- 502 Use Squeezer
- 502 Convert During or After Bounce
- 502 Import Into Session After Bounce
- 503 Help
- 503 Recording a Submix (with Bounce To Disk)
- 504 Final Mixdown
- 505 Mastering
- 505 Mastering to a Digital Recorder
- 507 Surround
- 509 Chapter 30: Surround Concepts
- 509 How to Use These Chapters
- 509 Mixing Formats and Surround Formats
- 510 Pro Tools Mixing Formats
- 510 Speaker Layouts
- 512 Surround Monitoring
- 512 The Importance of Speaker Placement
- 513 Calibrated Surround Monitoring
- 513 Formats and Terminology
- 514 LCRS for Dolby Surround
- 514 5.1 for Dolby Digital and DTS
- 514 .1 Formats
- 514 .0 Formats
- 515 LFE
- 515 Divergence
- 516 Where to Get More Information on Surround Technology
- 516 Surround Mixing Concepts
- 516 Surround Format Compatibility
- 517 Surround Formats and Delivery Mediums
- 517 Surround Playback System Variables
- 519 Chapter 31: Pro Tools Setup for Surround
- 519 Pro Tools Audio Connections for 5.1 Mixing
- 520 Configuring Pro Tools for Multichannel Sessions
- 520 New Sessions and I/O Settings
- 522 Importing Multichannel I/O Setups
- 522 Custom Multichannel Paths
- 524 Default I/O Selectors in I/O Setup
- 524 Default Path Order for 5.1 Tracks
- 524 5.1 Track Layouts, Routing, and Metering
- 525 Chapter 32: Multichannel Tracks and Signal Routing
- 525 Multichannel Quick Start
- 526 Multichannel Audio Tracks
- 526 Placing Audio in Multichannel Tracks
- 528 Multichannel Signal Routing
- 528 Multichannel Track Outputs
- 529 Multichannel Sends
- 529 Multichannel Auxiliary Inputs and Master Faders
- 529 Mono, Multi-Mono and Multichannel Plug-Ins
- 531 Paths in Surround Mixes
- 533 Example Paths and Signal Routing for a Surround Mix
- 533 Example Multichannel Paths
- 534 Signal Routing Examples
- 536 LFE Examples
- 537 Chapter 33: Surround Panning and Mixing
- 537 Introduction to Pro Tools Surround Panning
- 537 Mix and Edit Window Panner Grids
- 538 Output Window
- 539 Standard Controls
- 540 Surround Panner Controls
- 541 The X/Y Grid and Pan Cursor
- 542 Panning Modes
- 542 X/Y Panning
- 544 3-Knob Panning
- 545 LFE Faders in Multichannel Panners
- 545 Divergence and Center Percentage
- 546 Divergence
- 547 Center % (Percentage)
- 547 Pan Playlists and Automation
- 548 SurroundScope Metering Plug-In
- 549 Synchronization
- 551 Chapter 34: Synchronization Concepts
- 551 Synchronization Requirements
- 551 Aspects of Synchronization
- 552 Synchronizing Pro Tools
- 552 About Positional References
- 554 LTC (Longitudinal or Linear Time Code)
- 554 VITC (Vertical Interval Time Code)
- 554 Bi-Phase/Tach
- 555 SMPTE Frame Formats
- 556 Working with Film-Originated Material
- 556 Guide Tracks and Conforming
- 556 3:2 Pulldown
- 557 Film Speed Differs from NTSC Video Speed
- 558 Pull Up and Pull Down
- 558 When to Pull Up or Pull Down
- 561 Chapter 35: Working with Synchronization
- 561 Pro Tools Synchronization Options
- 561 SMPTE Trigger Resolved with SYNC I/O
- 562 Ext. Clock Output
- 563 Session Setup Window
- 564 Session Displays and Settings
- 565 SYNC Setup Settings
- 566 Session Start Offsets
- 567 Time Code Settings
- 568 Preparing to Work with SMPTE
- 568 Configuring Pro Tools for SMPTE
- 568 Selecting a SMPTE Format
- 569 Setting a SMPTE Session Start Time (Start Frame)
- 570 Redefining a Feet+Frame Position
- 570 Displaying Time in SMPTE Frames
- 570 Pull Up and Pull Down
- 572 Audio Sample Rate Pull Up and Down
- 573 Video Rate Pull Up and Down
- 574 Putting Pro Tools Online
- 575 Recording Online
- 575 Generating Time Code
- 576 Using MIDI Machine Control
- 576 Controlling External Devices Using MMC
- 576 Enabling MIDI Machine Control in Pro Tools
- 578 Synchronizing a Sequencer to Pro Tools on Macintosh
- 578 Setting Minimum Sync Delay
- 578 Remote Track Arming
- 579 MIDI Beat Clock
- 579 Spotting Regions to SMPTE Frame Locations
- 579 Spot Mode
- 579 The Spot Dialog
- 581 Auto-Spotting Regions
- 582 Using the Trimmer in Spot Mode
- 582 Time Stamping
- 582 Show Original Time Code in Regions
- 583 Creating a User Time Stamp
- 584 Identifying a Synchronization Point
- 585 Troubleshooting Synchronization
- 587 Chapter 36: Working with QuickTime Movies
- 587 About QuickTime
- 587 Using QuickTime Movies in Pro Tools
- 588 Video Capture/Playback Cards
- 588 If You Are New to Audio Post Production
- 589 QuickTime Requirements
- 589 Movie Playback Quality Options
- 590 Importing a QuickTime Movie
- 590 About the Movie Track
- 591 Firewire Playback of QuickTime DV Movies
- 591 Supported QuickTime Movies
- 592 Scrubbing the Movie Track
- 593 About the Movie Window
- 594 Setting the Movie Start Time (Movie Offset)
- 595 Spotting Audio to a QuickTime Movie
- 595 Using Grid Mode to Spot and Nudge Regions with Frame Accuracy
- 596 Importing QuickTime Audio (and Other Compressed Video Files)
- 596 Sample Rate Conversion Quality
- 597 Importing Audio from a QuickTime Movie
- 598 Bouncing to a New Movie
- 601 Appendix A: DSP-Induced Delays in Mixing (TDM Only)
- 601 Introduction to DSP-Induced Delay
- 602 When to Compensate
- 602 Overview of Delay Compensation Options
- 602 Delay Compensation
- 603 TimeAdjuster and Delay Compensation
- 603 Manually Compensating for Delays
- 603 Using the TimeAdjuster Plug-In
- 604 Nudging Audio Tracks
- 604 Delay Factors
- 605 Using Plug-In Inserts
- 605 Using Sends and Hardware Inserts
- 605 Using Hardware I/O
- 606 Bouncing Tracks
- 607 Appendix B: TDM Mixing and DSP Usage
- 607 Benefits of TDM II
- 608 TDM (or TDM I)
- 608 TDM II
- 609 DSP Allocation
- 609 DSP Allocation Basics
- 610 Mixing and DSP Usage
- 610 DSP Manager
- 610 Monitoring DSP Usage
- 611 Setting up Sessions to use DSP Efficiently
- 612 DSP Usage with TDM Mixers
- 612 Understanding Mixers
- 615 48-Bit Mixing Precision
- 615 Mixer Headroom
- 617 Mixer Automatiion
- 617 Stereo and Surround Dithered Mixers
- 618 A Note About Dithering to 16-Bit and Dither Plug-Ins
- 618 TDM Mixer Plug-Ins
- 619 Plug-In Features
- 619 Switching TDM Mixer Plug-Ins
- 620 Mixer Usage Guidelines
- 620 DSP Usage with TDM PlugIns
- 621 DSP Usage and I/O Allocation
- 623 Appendix C: Troubleshooting
- 623 Backing Up Your Work
- 623 Back Up Your Session Data
- 623 Back Up Your System Setup
- 623 Common Issues
- 623 Pro Tools Won’t Launch
- 624 Audio Interface Isn’t Recognized
- 624 Using DigiTest as a Diagnostic Tool
- 625 Performance Factors
- 625 Before You Call Digidesign Technical Support
- 625 Register Your System
- 625 Use Digidesign Resources
- 626 Gather Important Information
- 627 Glossary
- 637 Index